Persona is based on characters texted with a brush and found on a poster made for the Swedish poetry magazine Lyrikvännen. While the characters in Manuskript are typographically and calligraphically done with great skill, the ones in Persona carry a highly personal touch. Still, they are fully usable - for the right kind of work. The name refers to the personal shaping of the characters. In Esperanto, which contributed with the name once more, persona" means "personal". Persona was released in 1995.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Mollis Gothic is inspired by medieval gothic calligraphy. The gothic calligraphy is classical and traditional, I want to add something modern to it. So the letters are simplified as lines and without the handwriting feel, just like a sans font. Meanwhile, the gothic calligraphy visual look remained. It expands the usage area because of the modern feel of this font, such as the package, titles, logo, poster design, etc. In September 2021, we created the thin weight. Although Mollis Gothic Thin is from the font family, the kerning set and capital letters’ height are not as same as the regular weight for suiting the thin font’s usage situation.

Get ready to be bold and elegant at the same time. It’s time to see Wildrace, a display font created in capital letters with the racing theme. The font’s character is the thick letters formed similar to rectangles to give strong impressions. Therefore, it will be more noticeable and match the large-sized texts. Wildrace also provides interesting features to enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Use Wildrace for any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Purchase now. Happy designing.

This is definitely a font suitable for kids toys. The letters are legible, and at the same time totally wacky! Kinda like what a kids toy should be! Fidusmager started out as a handdrawn, slightly rugged looking fon. However I ended up manually tracing each letter in order to have those smooth lines. By the way, Fidusmager is danish and actually means someone who’ll trick you - but as a kid I didn’t know that, and found that it most likely was something positive! :)

The Shapirit family belongs to a category of geometric sans sherif fonts, that was created in 1920s. The main feature of this category is geometric architecture of shapes. Shapirit family is perfect for headlines, brief texts used on any screen, print materials as well as logos. The whole family includes 8 fonts from Thin to Black and contains full Hebrew and Latin script. Therefore, Shapirit is an ideal solution for any adaptation into Hebrew or any Latin script language. The word "Shapirt" (in Hebrew שפירית) means dragonfly. The font’s name was inspired by the dragonfly’s slim and elegant body.

Acrom is a geometric sans serif typeface with a minimal stroke contrast. It was designed with a modern, contemporary context in mind. Acrom is not merely mechanical, it can also be recognised as a natural typeface with subtle geometric aesthetics. The humanist quality of the font aids legibility across both text and display work. Acrom’s main characteristics lie in the injection of stylistic forms that enhance its individuality without overpowering the font’s functional purpose and integrity. The font can be tamed utilising the set of alternative characters available within the typeface. Details include 500 characters, manually edited kerning and Opentype features.

Inspired by thrash metal band logos. Ideal for creating a sense of speed and aggression to any project. Ideal for metal bands, graphic novels, action films and video games.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Unofficially named ‘No Frills’ in the early stages of development, his widow Elsie decided that it would be called Kingsrow.

ABC Zoo is a collection of two typefaces where the alphabet letters are combined to create a design of animal using the letters in the name of each animal.

Borough Park JNL is named for a neighborhood in the southwestern part of the borough of Brooklyn, NY and was modeled from hand lettering found on vintage sheet music.

Rock Wood is a fresh version of old western wood type. With its strong and sinuous lines it has a taste of vintage and modern at the same time.

Live long and prosper. Barnhart Brothers and Spindler. 1884. Originally named Vulcan. Enough said. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Cartelle is a sexy small caps bitmap design characterized by it's whimsical curls and ornate flourishes. It's inspiration came from a French poster design from the early 1900's.

In winter when cold time comes, when animals with thin fur play drums, there’s one guy who keeps you warm, his name is Lumberjacky and he’s stronger then storm!

Dialog is my first sans serif. I had made some attempts earlier, but they didn't satisfy me. Dialog was, on the contrary, so inspiring that I made 19 different fonts of it, the most complete typeface for several years. I usually prefer typefaces with serifs, but I don't miss them in Dialog. The name needs no explanation. Dialog was released in 1993.

Will Ransom designed the exemplar for this series for Barnhart Brothers & Spindler in the early 1900s. The typeface was originally named "Parsons", after the advertising director of a Chicago department store (evidently a very BIG customer of BB&S). Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Here's a new take on an old dry-transfer standard from the 70s named Barrio. This unicase version features several handy ligatures not found in the original typeface, which will substitute in OpenType-savvy applications when the lowercase combos are typed. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

An unannotated photocopy tucked inside the leaves of an old lettering book yielded this unusual and exuberant Art Deco face. The caps feature a simple “bubbly” pattern that makes this offering pack a punch, not unlike the German cherry brandy for which it is named. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Vantagram is a modern display font. The typeface is made from basic square geometry. It is inspired by blackletter typefaces of the medieval period in Europe. The Vantagram name is a combination of two words derived from “vanta” French for boast and “gram” Greek for letter or that which is drawn. Vantagram is great for display work, quotes, titles, headings and posters.

Habanera's design is based on the idea of taking perfectionist geometric shapes and making them funky! With gentle tweaks here and there, the glyphs are deliberately designed to look more humane and fun. Same fonts are also presented with round corners, giving it an even more gentle look. Latin poster design and graphic art was an inspiration to design Habanera.

Sweeper is a font with several personalities; it’s friendly and scary at the same time, almost like Santa Claus, but nicer. Sweeper has got a handy touch with a lot of different possibilities. You can use it in several occasions. Sweeper is suitable in any environment: the business district in London or the shores of Oxelösund. It’s hella wide and hella fun!

This assertively Art Deco face is based on Cubist Bold, designed by John W. Zimmerman for Barnhart Brothers & Spindler in 1929, and takes its name from one of the co-founders—with Pablo Picasso—of the Cubist Movement. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Stop is a heavy futuristic sans serif display font, designed by the famed Italian type designer Aldo Novarese. Stop's forms are vaguely stencil-like, and some of them only read as letters when used in combination with each other. Nevertheless, Stop has a real computer-technology" feel to its design. It should be used exclusively for headlines or logo work."

Quentine is a script typeface with sharp and rough character. Ideal for logos, name tag, quotes, product packaging, merchandise, social media & greeting cards. It contains a full set of lower & uppercase letters, alternative characters, a large range of punctuation, numerals, and multilingual support. The alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Stylistic Sets, and Ligature.

Tact New family is geometrically sans serif font, with 3 weights, condensed looks glyphs, with an alternative glyph set to improve its use in different graphic contexts. It is suitable for use in the fields of science, art, architecture, urban planning, techniques, electronics, advertising, posters, corporate designs, futuristic themes, sport, film, computers, phones, video games, publishing... Contains all Latin and Cyrillic glyphs.

Mahameru is the name of the peak of Mount Semeru, mean "The Great Mountain" in Sanskrit. This font gives a firm and soft character, with the terminal point on straight and curved strokes. The family has 9 weights ranging from Thin to Black and offers a lot of features flexibility that will help you find the best typographic color for your project.

Working as a graphic designer for a long time, I realized importance of alternates. Riveruta is a modern typeface designed especially for those who like to experiment with letters. Lots of alternative letters help in creating logos or names. Create your own unique combination using different options. Suitable for any business, this font is gender neutral and should appeal to most people.

A diverse assortment of woodtype adornments, including bishop’s fingers, vignettes, border elements, flourishes and other what-nots, all thoughtfully redrawn from authentic historical sources, and ready to grace your next project with their vintage charm. Please note: for reason known only to the font gods, the Mac Postscript version of Woody Goodies 2 had to be named More Woody Goodies.